Rigoletto is an opera composed by Giuseppe Verdi, with a libretto written by Francesco Maria Piave. It premiered in 1851 at the Teatro La Fenice in Venice and quickly established itself as one of the most popular and enduring operas in the repertoire. The opera tells the tragic story of Rigoletto, a hunchbacked court jester in the court of the Duke of Mantua. Rigoletto is a complex character, filled with bitterness and resentment towards his role as a court jester and the nobility that surrounds him. However, he also deeply loves his daughter, Gilda, and will do anything to protect her. The opera is famous for its powerful and emotive music, with Verdi masterfully capturing the emotions and conflicts of the characters through his composition.
The opera is famous for its powerful and emotive music, with Verdi masterfully capturing the emotions and conflicts of the characters through his composition. One of the most well-known arias from Rigoletto is "La donna è mobile," which is sung by the Duke. The aria is catchy and instantly recognizable, showcasing the Duke's character as a seducer and womanizer.
The Story Of 'Rigoletto'
Act One begins in the palace of the Duke of Mantua, where the Duke himself is holding court. He's a self-obsessed cad, notorious for his indiscreet love life. We also meet the Duke's acid-tongued jester, a hunchback named Rigoletto. He's notorious for his unrestrained verbal abuse of the Duke's courtiers — and just about everyone else he comes across.
The Duke remarks that he has been secretly watching a beautiful young woman. He's even followed her to and from her home, where she's often visited by a mysterious man. But for the moment, he's got his eye on a local Countess named Ceprano. The Duke flirts with her openly while her husband stands by helpless and Rigoletto makes fun of him. Outraged, Count Ceprano arranges a gathering of the courtiers later that night at his home.
The scene is interrupted by Count Monterone, who crashes the party to confront the Duke. It seems the Duke has had his way with Monterone's daughter. Rigoletto mocks his fatherly outrage and the Duke has Monterone arrested. As he's led off, Monterone curses both the Duke and Rigoletto. The Duke pays no mind, but Rigoletto is terrified.
The next scene takes place at Rigoletto's home. Count Ceprano's house is across the street. Outside, Rigoletto is talking to Sparafucile, a hit man, who offers his services, but they are declined. However, Rigoletto knows where to find him, just in case he wants somebody murdered.
Rigoletto enters his courtyard and greets his daughter Gilda. Rigoletto's wife is dead, and nobody at the Duke's court even knows that he'd been married, much less that he has a child — and he always visits Gilda in secret, so nobody will find out about her.
When they hear someone approaching on the street, Rigoletto leaves. Gilda confesses to her nurse, Giovanna, that she's fallen in love with a young man who's been following her, at which point the young man promptly appears. It's the Duke disguised as a poor student. He's just figured out that the woman he's been stalking is Rigoletto's daughter — and he is now even more determined to have her. He declares his "love," and the naive Gilda is thrilled. When he leaves, she adoringly ponders the false name he gave her, in the well-known aria, "Caro nome."
WHO'S WHO
Carlos Alvarez . Rigoletto
Lyubov Petrova . Gilda
Joseph Calleja . Duke of Mantua
Malgorzata Walewska . Maddelena
Andrea Silvestrelli . Sparafucil
Robert Cantrell . Monterone
Magdalena Wor . Giovanna
James Shaffran . Marullo
Grigory Soloviov . Ceprano
Claudio Huckle . Countess Ceprano
Washington National Opera Orchestra and Chorus
Giovanni Reggioli, conductor
Outside again, in the street, Rigoletto meets the courtiers who have come to meet with Ceprano. They've seen Rigoletto with Gilda and, assuming that she's his mistress, they hatch a plot. The courtiers lie to Rigoletto, saying that they're about to abduct Ceprano's wife for the Duke. Rigoletto agrees to help, and even manages to let himself be blindfolded in the process. With Rigoletto disoriented, they ask him to hold a ladder, so they can climb onto a balcony. But instead of going across the street to Ceprano's house, they enter Rigoletto's home and seize Gilda. Rigoletto has been tricked into helping them kidnap his own daughter.
In Act Two, the Duke is back at his palace and he's upset that he seems to have lost track of Gilda. The courtiers tell him about the abduction and when he learns that Gilda has been brought to the palace, he eagerly rushes off to be with her.
Rigoletto enters, also searching for Gilda, and he's afraid he knows exactly where she is. When the courtiers won't tell him where to find the Duke, he's even more anxious. Shortly, his fears are confirmed when Gilda appears in tears, crying that she's been "dishonored."
As Rigoletto goes to her, Monterone is escorted through the room. He's another man whose daughter the Duke has "dishonored." Now, Rigoletto is also an aggrieved father and he vows to seek revenge for both himself and Monterone.
Rigoletto remembers Sparafucile, and as Act Three begins, Rigoletto has hired the hit man to murder the Duke. Sparafucile operates out of a sleazy tavern, where his sister Maddalena lures his unsuspecting victims. Tonight, Maddalena has enticed the Duke into their establishment. Outside, Rigoletto and Gilda watch as the Duke tries to seduce Maddalena, singing his familiar aria "La donna e mobile" — "Women are fickle."
In spite of everything, Gilda still loves the Duke, and Rigoletto wants Gilda to see what kind of man her beloved really is. As they watch the Duke in action, we hear one of the most powerful operatic ensembles ever composed, a quartet featuring Gilda, Rigoletto, the Duke and Maddalena. As it concludes, Rigoletto sends Gilda home. He has left her some men's clothing, and instructs her to put on the disguise so the two can leave the city without being noticed.
Rigoletto also leaves, planning to return later, alone. Sparafucile is set to murder the Duke. At midnight, he'll rendezvous with Rigoletto and present him with the corpse — as proof that the job has been done.
A storm blows in — with a spooky offstage chorus evoking the rising winds — and Gilda returns to the tavern, wearing her young man's disguise. She overhears Sparafucile arguing with Maddalena. The Duke has fallen asleep upstairs, and Sparafucile is heading up to kill him. But Maddalena likes the Duke and pleads for his life. Sparafucile agrees with Maddalena to kill their next visitor, instead of the Duke. Hearing this, Gilda decides to intervene. She knocks at the door, saying she's seeking refuge from the weather. As they let her in, Sparafucile draws his knife, and stabs her.
When Rigoletto returns, Sparafucile brings him a body in a sack. Rigoletto kneels over it in triumph, thinking his revenge is complete. Then he hears the Duke, singing in the background. He frantically tears open the sack to see whose body he's been given. He finds Gilda, barely alive. She tries to comfort him, saying she'll soon join her mother in heaven. As Gilda dies, Rigoletto cries out — and remembers Monterone's curse, which now has found its victim.
The orchestra calls for 2 flutes , (Flute 2 doubles clarinets , 2 horns in Eb, D, C, Ab, G, and F, 2 trombones , cimbasso , Banda , bells , thunder machine Onstage: violas , and History [ ]
Rigoletto the verse is also renowned for its dramatic storyline, filled with deception, revenge, and tragedy. Throughout the opera, Rigoletto's attempts to protect Gilda from the corrupt and dangerous court lead to a series of tragic events that ultimately result in her death. The heart-wrenching final scene, where Rigoletto discovers the body of his dead daughter, is particularly poignant and emotionally charged. Rigoletto is often praised for its exploration of themes such as power, corruption, and the consequences of one's actions. The character of Rigoletto serves as a symbol of the common man's struggle against the oppressive aristocracy, and the opera as a whole can be seen as a critique of the social inequality and moral decay of the time. Overall, Rigoletto is a masterpiece of operatic storytelling, combining powerful music with a gripping narrative. Its enduring popularity and continued performances around the world are a testament to its status as one of the greatest operas ever composed..
Reviews for "The Life and Times of Rigoletto: How Historical Context Shaped the Verse"
1. Jennifer - 1/5 stars - I was truly disappointed in "Rigoletto the vurse". The story was confusing and hard to follow, and the characters seemed one-dimensional. Additionally, the acting and singing left much to be desired. I expected a captivating and engaging performance, but instead, I found myself wanting it to be over. Overall, it was a lackluster production that I would not recommend.
2. Michael - 2/5 stars - I had high hopes for "Rigoletto the vurse", but unfortunately, it fell short of my expectations. The set design and costumes were impressive, but the performances were lackluster. The lead actor seemed unengaged, and the chemistry between the characters was lacking. Furthermore, the pacing of the performance was off, making it difficult to stay engaged. While there were a few standout moments, overall, it was a forgettable experience.
3. Susan - 2/5 stars - I was excited to see "Rigoletto the vurse", but I left the theater feeling underwhelmed. The production lacked energy and passion. The singing was mediocre, and there were moments when the actors seemed unsure of their lines. The story itself was convoluted, making it difficult to connect with the characters and their motivations. Overall, it was a forgettable performance that I wouldn't recommend to others.
4. John - 1/5 stars - "Rigoletto the vurse" was a waste of time and money. The production was amateurish, and the cast seemed ill-prepared. The singing was off-key, and the acting was wooden. Additionally, the set design was uninspiring, and the costumes were lackluster. I found myself counting down the minutes until it was over. Save your money and skip this disappointing performance.